scenic design for 'the metal children

University of Arkansas, FayettevilleScholarWorks@UARK

Theses and Dissertations

5-2017

Scenic Design for "The Metal Children"Joseph Bryan FarleyUniversity of Arkansas, Fayetteville

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Scenic Design for “The Metal Children”

A thesis submitted in partial fulfillment of the requirements for the degree of

Master of Fine Arts in Theatre

by

Joseph Farley Henderson State University

Bachelor of Arts in Theatre, 2014

May 2017 University of Arkansas

This thesis is approved for recommendation to the Graduate Council.

Professor Michael Riha M.F.A. Thesis Director Professor Jenny McKnight M.F.A. Professor Shawn Irish M.F.A. Committee Member Committee Member

Abstract

A scenic design for the play “The Metal Children” by Adam Rapp was created and

performed by the steps of the design process used in the design program at the University of

Arkansas Department of Theatre. The Metal Children presents itself as a multi-unit set. With a

script that introduces five different locations, one begins to question how we move forward with

every different scene fluidly and in a quick scene shift time. When beginning the design process,

I had to look at the show as if it were a musical with multiple scenic pieces that would fly in and

out in a choreographed fashion to match the pacing of the actors around it. Because one of the

main motifs of the show involved Young Adult Literature, I decided to handle scene shifts and

overall scenic looks as if the show was progressing forward like one would turn the pages in a

book. Overall the production was successful and operated very smoothly, because of the design

and tech team involved could take my vision and recreate it on stage.

Acknowledgments

To my loving and caring family, who have supported me from the beginning of my

endeavors and will continue to support me until the end.

To my girlfriend, who has always stood by my side and supported my every decision

from the start of our friendship. You will always be my rock.

To Douglas Gilpin, for your constant support and mentorship through the past seven

years and for helping me find my direction.

To Kiah and Emily, through the good and the bad, we made it! We did it together and

became family because of it! Thanks for everything and always being there for me; I love you

two.

To all the faculty and staff at the University of Arkansas Department of Theatre, for their

excellent guidance and drive to make me be the best I can be.

Table of Contents

Section 1: Producing the Show ...........................................................................................1

Section 2: A Look Into the Story and History ...................................................................3

Section 3: From Concept to Design ....................................................................................8

Section 4: Top to Bottom Production Process ...................................................................16

Section 5: A Reflection .........................................................................................................20

References: ............................................................................................................................22

Appendix A: Analysis, Research, and Preliminary Sketches ..........................................23

Appendix B: Preliminary White Model, ¼” Color Model ...............................................32

Appendix C: Final Drafting and Painters Elevations .......................................................39

Appendix D: Production Photos .........................................................................................62

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Section 1: Producing the Show

The Metal Children by Adam Rapp, was produced at the University of Arkansas’s

University Theatre on November 11, 2016. The production ran for seven performances over the

span of two weeks. The University Theatre is located on the University of Arkansas campus in

Fayetteville Arkansas. Construction and set up for the show was executed by the scenic shop

located in the theatre. It features a scenic and lighting shop, which employs four full time

employees and thrives off the work of their limited hourly students who work in the shop where

they complete requirements for classes and assistantship assignments.

The University Theatre is a proscenium style venue that seats 315 audience members.

The proscenium measures to 36’-0” wide by 20’-0” tall with a stage depth of 36’-3” from plaster

line to the back wall. The stage extends beyond the proscenium line with a covered orchestra pit

measuring another 11’-6” to the total depth. The venue is equipped with 31 line sets with five

dedicated specifically for lighting electrics. The number of lighting electrics allows flexibility

when positioning hanging scenery that is required for production needs.

The first of four design meeting for The Metal Children was held on March 3, 2016. Due

to University scheduling and the winter break between spring semester and fall semester, the

final design meeting was scheduled for September 8, 2016. This timeline allowed for an easy

recapping process for the whole design team culminating with presentation of the final design as

well as final drafting for the show. Construction for the show began on October 3, 2016 leaving

a build period of five weeks and four days. Technical rehearsals began on November 4, 2016,

which was exactly one week prior to opening night. The final performance date was November

20, 2016 with a strike, or disassembly of the show following the final performance.

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The University of Arkansas served as the producer for the show. The other artistic and

design team members included faculty director Jenny McKnight; second year M.F.A. candidate

Jeremiah Albers as the assistant director; undergraduate stage manager Maggie Harris;

undergraduate assistant stage manager Ian Bean; third year M.F.A. candidate Emily Clarkson as

the lighting designer; second year M.F.A. candidate MJ Hall as the costume designer; faculty

member Tyler Micheel as the sound designer; faculty member Weston Wilkerson as the

technical director. The stage run crew was a combination of students enrolled in THTR 1323

and 1313 – Stage Technology I and Stage Technology II.

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Section 2: A Look Into the Story and History

The Metal Children is a play about a down-on-his-luck author, Tobin Falmouth, who

writes a controversial novel that is subsequently banned by the school board of a small-town

school in a fictitious town called Midlothia. He travels to Midlothia to protest the banning of his

novel when strange and inexplicable occurrences start happening around him. Between crazy

teenagers reenacting moments from the book and people wearing porky pig masks appearing at

his hotel room, he seems to find his voice and regains his ability to write well again.

The play begins in Tobin’s New York City apartment home to an apparently depressed

author who is under the assumption that he has no more writing creativity. The scene opens with

Tobin addressing a camera in protest to the banning of his book throughout the school’s

curriculum by reading a statement that was prepared by his sassy agent. We can see that Tobin

is not taking care of himself or his apartment due to the messy conditions of his apartment. He is

seen buying marijuana from a drug dealer, sleeping with his neighbor who lives down the hall,

and witness him selling off old gifts he had received from friends. Throughout the scene his

literary agent, Bruno, convinces him to travel to the town of Midlothia and make an appearance

to protest the banning of his book. With some hesitation and after he reads a well written letter

from a concerned Midlothian teacher Stacey Kinsella, Tobin agrees to go to the town to help

protest.

Scene two begins at a tattered, run down motel room with words “Gone For Now”, a

phrase that was significantly noted in his book, spray painted all over the walls. Tobin meets the

kind-hearted motel owner Edith Dundee who happens to be one of his biggest fans. Edith

explains to Tobin all the weird things that have been going on in the town, and how the school

kids are reacting to the announcement that his book has been banned from the curriculum.

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Following the awkward conversations with Edith, comes his second visitor Stacey Kinsella. Mr.

Kinsella is a teacher at the Midlothia school who is in favor of the book staying in the

curriculum. With every sound and every phone call, he seems to be nervous as to what might

happen to him next, because he is the target of the town’s “Pork Patrol.” The “Pork Patrol” serve

as a vigilante group of individuals parading around town protesting the book. After Tobin thinks

all his visitors are finally gone for the night, he has a surprise visitor by the name of Vera

Dundee who happens to be Edith’s niece. Vera is the leader of the town’s protesters who are

trying to keep the book in circulation and who believe greatly in Tobin’s writing. This group is

passionate about the book and its message within the story. They seem to be able to find

meaning within his novel that even Tobin was not able to see. He is also concerned that Vera’s

group may be misinterpreting his novel further amplifying the controversial nature of the book.

Vera explains to Tobin that she, along with the other young ladies, use his book as a guide for

how they should live their lives and how they should stand up to the powers that are against them

in the world. She starts her plan by attempting to get herself pregnant, by Tobin.

After seducing Tobin with her charm, Vera sneaks out of his hotel room during the

middle of the night leaving the door unlocked allowing the town’s “Pork Patrol” to enter his

room. The “Pork Patrol” enter Tobin’s room, turn on a vacuum cleaner, and proceed to beat

Tobin within an inch of his life and leave him to die in the room alone.

Act two begins at the School Board meeting that made Tobin come to Midlothia where

they would hear testimony for and against the ban of his novel. The audience sees Tobin walk

into the meeting late with bruises and cracked ribs from his ordeal at the motel the previous

night. In this scene, we are introduced to a few new characters. Community citizens who are

against the book being in the curriculum speak their mind and express their concerns both

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regarding their religious and moral background. Vera also speaks about her emotions after

reading the book, causing Tobin to speak out about how he simply wrote that book out of anger,

and there was no real meaning behind it. Following Tobin’s monologue where he is seen

defending his book, we see Edith run into the meeting to tell everyone that Stacey had been in a

terrible accident.

Scene two opens in a hospital room where we see Stacey lying in a hospital bed. He

appears to be in good spirits after light conversation with Tobin. He requests that Tobin read a

piece from his book to him. While reading, you can see a change in Tobin’s tone and thoughts

while he goes through the passage. After he finishes reading, Edith joins the room and lets

Tobin know that a new statue has appeared in the town square, signifying that a young woman

has gone missing. Tobin immediately leaves to investigate.

Scene three takes place at the town square where a bronzed statue of one of the town’s

young ladies stands over all those who draw near. She is surrounded by mementos left by those

who visited. It is here where the audience sees how the book has become a negative influence on

the town’s children. In this scene, we see Tobin’s conversation with one of the speakers from

the town hall meeting Roberta Cupp, who is desperate to change Tobin into a spiritual person,

which is not the person he wants to be. Following the heated exchange between Ms. Cupp and

Tobin, two characters from the “Pork Patrol” show up and this time they stab Tobin with a large

knife leaving him to die in the shadow of the bronzed statue.

Scene four takes place back in the hospital where this time we see two beds are occupied.

One with a sleeping Stacey and the other with Tobin. Vera and her sperm donor Boy X are also

there waiting for Tobin to wake up so she can say goodbye. She tells him that they are going to

leave Midlothia and venture out to make their own place to stay and raise children just like the

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book tells her to do. In this pivotal scene, we see a major change in Tobin’s character after

revealing his true feelings about his recent divorce. He learns that his ex-wife is happy now and

he should be too.

In the final scene of the play we are back in Tobin’s apartment in New York City where it

is apparent Tobin is a changed man. His place is clean and orderly and Tobin also seems to have

a new-found energy and confidence. We see his agent, Bruno reading a new manuscript of

Tobin’s and it is excellent. Tobin appears to have found his writer’s voice once again. Perhaps

more importantly he has found himself and a new purpose in life. At this moment in the play,

the audience is left to believe the show may be concluding; however, an unexpected visitor

knocks on his apartment door, and it’s Vera. Vera now has a child: Tobin’s child, and has come

to ask him for financial support for their movement. Vera and her friends have set up a farm and

community for pregnant teenagers. After coming to an understanding with Vera, it appears that

Tobin will attempt to take part in his daughter’s life. Tobin says goodbye to Vera and the scene

closes with him gazing out of his apartment window.

The Metal Children speaks strongly to art and censorship within the media and in our

schools. We see how a simple teen novel could create controversy and corruption as well as

create inquisitive minds. This play illustrates the power art and literature can and have on

society.

The playwright, Adam Rapp, created this script based from his real-world experiences

that stemmed from the beginning of his career. In 2005, Rapp created The Buffalo Tree, which

was a story relating to life in a youth detention center. This piece, having violent and sexual

content, was banned from the curriculum at Muhlenberg High School in Pennsylvania. The

novel was taken from the students and placed inside a vault similar to what happens in his play,

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The Metal Children. As a result, there was a backlash from numerous students, teachers, and

parents who were either for or against the inclusion of his novel in the school’s curriculum. To

help combat what he believed to be a clear case of censorship, Adam Rapp sent copies of his

novel to teachers and gave them the choice of whether to continue the assignment or abandon it.

After a year of continued controversy, there was a town meeting in which the legitimacy of the

book was discussed. Adam attended and argued for the book and questioned why they had the

right to tell the students what they could and could not read. It is clear that this autobiographical

portion of his young life as an author served as a foundation for writing this play, The Metal

Children.

8

Section 3: From Concept to Design

At the first production meeting on March 2, 2016, the Director, Jenny McKnight had very

strong ideas and themes and clearly articulated them for the rest of the design team. Ms.

McKnight made it clear that she wanted to set the show in 2009. She wanted to take the

opportunity to reach out and connect the show to the University of Arkansas’ audience whom

she believed were also connected with the popularity of Young Adult Literature. “The play has

two worlds pitted against one another; but we don’t want to take sides. We’ll make no apologies

for the bookend scenes in NYC; however, it feels like the scenes in Midlothia appear to get

progressively odder similar to what would happen in the old serial television drama, Twin

Peaks”.(McKnight March 03, 2016) As a collaborative effort, the design team decided that the

two locations of New York City and the small Midwestern town of Midlothia needed to uniquely

distinct properties. The New York City apartment needed to highlight the sense of being small

and congested, whereas Midlothia needed to have the sense of being open and strangely fairy tale

like in its appearance. The show is quite fluid with seven scenes featuring five different

locations. One of my questions to the rest of the design team was, “What is the movement of the

play?” we established that we wanted the show to change in front of the audience’s eyes along

with a sense that each scene would appear to grow and shrink as each scene transitioned from

one location to another. At the end of the first design meeting, Ms. McKnight wanted the team

to consider the use of video projections in the design. She wanted us to consider the idea that

when any of the characters read words from the book or other documents, those words would

appear on stage as they spoke them further highlighting the idea of the novel being written.

As the scenic designer, one of the biggest challenges I faced for this show was to figure

out how to make the show move smoothly and quickly between five different locations while

9

still creating the illusion of each location accurately for the audience. An important part of the

design was to understand the movement of the play, while learning the traffic patterns of both the

scenery as well as the actors. To better understand these traffic patterns I created an action chart

for the entire show. (See Appendix A Figure 1) After completing the action chart, I investigated

where I could find a pattern or relationship between movements that might allow me the ability

to fine tune the scene changes. Many factors come into play when creating a plan for scenic

shifts that can be as complex as this show. Scenery can either fly onto the stage on battens, can

rise on elevators that come from the trap room up through the stage floor, slide in from the wings

stage left and stage right, or simply be gripped into place by actors or technicians. Often set

designers use a combination of these techniques to effectively change scenery. Another

important concern is to understand the physical limitations of the theatre space as well as the

limited number of crew members available for each scenic shift. When I began sketching ideas

for the show, I quickly realized I was working in a way that is like a multi scene musical

production. Not only was it important to move scenery on and off stage efficiently, it was also

important to allow for adequate space for the director to block each of the scenes in unique and

exciting ways.

The second design meeting, which was held on March 31, 2016 was where I presented

my sketches as well as supplemental research and preliminary analysis. Ms. McKnight

responded positively to the sketches; however, she wanted me to develop my ideas further with

more detail so she could better understand actual spacing and how the transitions would function.

Sketching 2-Dimensional pictures are quick and useful when starting the design process, but

after further discussion with my mentor Michael Riha, we determined that it would be necessary

to construct scaled models for each scene to more clearly understand spacing and transitional

10

movement between the locations. It would also help to understand storage backstage and

management of crew members. I found it easiest to begin working with 1/8” = 1’-0” scaled

white models. (See appendix B figure 1), By examining my sketches, I could understand how I

wanted the walls and scenery to transition; however, I needed to understand how the overall look

of the scenery would impact the show. After presenting the models to Mr. Riha, he helped me

understand some possible design flaws in my initial ideas. One example of where I was

struggling was the New York City apartment. I had done extensive research but was unfamiliar

with just how small and utilitarian most New York City apartments were. Having spent a great

deal of time in NYC, Mr. Riha was able to provide some much needed context and design

details that aided in my further exploration for this particular location.

Act one, scene one, which was the location of the New York City Apartment, was

something I wanted to appear to be the most realistic of all the locations. To make a more

realistic look, my research came from numerous photographs of New York Studio Apartments.

While researching, I fell in love with the idea of utilizing exposed brick walls. This seemed to

resonate as being an iconic “New York City” look.

When I began the design process, I felt it was important to show Tobin’s character in

relationship to the state of disarray of his apartment. He was recently divorced and seemingly in

a downward spiral as an author and as a person, which led me to the idea of having his apartment

serve as a reflection of his current life. It was important that it looked like a typical bachelor

pad. One of the challenges in creating that kind of space was to give the space a feeling of

claustrophobia while still allowing for an appropriate amount of scenery to be as realistic as

possible.

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Act one, scene two, which was the first location in the town of Midlothia, was the point at

which I wanted to start transitioning into a scenic style that was increasingly unrealistic and

bizarre. As I was designing this location, I struggled with how to efficiently and quietly

transition from a very realistic and scenery heavy location – the NYC apartment – into the

increasingly outlandish Midlothia motel room. It was critically important that the scene shifts

were fluid, seamless, and quick as possible so as not to disrupt the flow of action. At this point I

created the concept of trying to make the scenic transitions resemble flipping pages in a book to

transition us further into the story. Eventually I ended up with what was ultimately called the

“Iris Drop” (See appendix C figures 13-17) as a means of transitioning and changing the

composition of the frame through which we viewed this every changing world. This drop would

consist of a horizontal border and two vertical legs, which would move in tandem to create an

irising effect into the next scene. It was designed to close off one scene while opening on

another. With that idea now in development, I could imagine each scene shift with a more fluid

movement.

In an effort to begin showing the less realistic locations in our mythical town of

Midlothia, I achieved that by deconstructing the reality of the motel room down to one wall. I

further enhanced the odd nature of this fictitious town by breaking the wall away and adding a 75

degree angle to the top of the wall, which would give the viewer an uneasy feeling. Further

challenging this particular scenic unit was the fact that each night of the performance featured

the motel wall with the words, “Gone For Now” spray painted in bright red letters over the wall.

During the scene, the young heroine enters the room and begins to spray paint over the old

words. Without harming the actors or audience members with chemicals I wanted to find a way

to make this effect happen without using real spray paint. I also didn’t want to create this

12

moment implementing a theatrical solution; it was important that it look as real as possible. The

solution was to use water based spray paint, which would ultimately be repainted every night

after the show ended by the run crew present.

During the scene while the protagonist is sleeping in his bed, we hear footsteps

approaching his room. Because of the size of the scene and the intimacy of the space, I wanted

to introduce the biggest antagonists, “The Pork Patrol” to the show by revealing them behind the

wall through a hidden scrim paneling that is placed in the wall. (See appendix C figure 12) I

wanted the room to resemble a motel with simple things like the calming and flat color on the

walls and the fire escape map on the door with room information attached.

Act two, scene one takes place in the High School Auditorium in Midlothia. This scene

is where we meet the townspeople who want Tobin’s novel banned. For this scene, I wanted the

it to look like an actual auditorium and give the audience the feeling that they were in the town

hall meeting as well. The town hall scene is meant to be inside a school auditorium, which is not

the normal place to hold their meetings. To utilize this concept for the scene I simply made a

podium with chairs on stage. With this simple solution, I could portray the setting. To give the

scene an unrealistic look, I positioned the iris drop at a steep angle traveling from largest on

stage left to smallest stage right. (See appendix C figure 15) Additionally, upstage of the actors I

positioned portraits of past superintendents to include one that is referenced during the scene.

These pictures were designed utilizing a forced perspective technique with the largest being

placed stage left and the smallest, stage right. Above the portraits, a piece of crown molding

capped the “room” and was suspended at the same angle as the iris drop. These molding pieces

was also created utilizing a forced perspective technique, which meant the molding measured 1’-

6” on the stage left side and 0’3” on the stage right side further adding to the bizarre, unnatural

13

stylings of Midlothia. In looking at the complete composition, I wanted to give more of an

uneasy feeling. Typically, we view the proscenium stage from left to right; however, by

positioning the iris drop with the smaller size stage right and the larger opening stage left, it

reversed the composition creating tension with the larger opening on the audience’s right.

Act two, scene two the Emergency room, is the most intimate scene in the show. With

that in mind, I chose to close the set by focusing the iris drop in to just slightly wider than the

space occupied by the two beds and a bed side table. (See appendix C figure 16) It is in this

scene when the audience learns the most about our main character as a person and who he wants

to be as a person. Due to this important part of the story, I did not want to distract from that

information which is why I was very selective in the amount of scenery as well as the small

scale. However, I still wanted the audience to remember that we were in the strange town of

Midlothia, which is why I placed the lighting fixtures for the room at the same extreme angle as

the border of the iris.

Act two, scene three the town square, was the most open scene of them all. After

multiple conversations with Ms. McKnight, she did not know how she wanted to stage the

scene, but she did want to focus on a town statue located in the town square. After researching

small town squares, I could identify an image that seemed abstract without being distracting that

would work for a fictitious town such as Midlothia. After finding the image and supporting

images of halogen street lights to support our location, we agreed that the scenery should not

overwhelm the scene. To make a solid image we created the statue and simply placed a park

bench where both characters sat during the scene. The use of the two large street lamps also

allowed for separation of areas (See appendix D figure 5).

14

At the third design meeting, which occurred on April 14, 2016, I presented the 1/8” scale

models I created that illustrated each of the five unique locations. Ms. McKnight reacted

extremely well to all the models with only one objection – the town square scene. That scene

was not where we wanted it to be. Aside from the technical concern surrounding the extreme

angle of the iris border, there was still something that was not quite right about the composition,

which led me to continue to develop that scene with new options at the final meeting.

The fourth design meeting on April 28, 2016 was the final meeting of the spring 2016

semester before summer break. It was critical to have the design solidified due to the two and a

half month break that separated that meeting and the first production meeting in the Fall 2016.

By this point I had redesigned the town square scene into a more cohesive area that better

encased the two characters without causing separation. Following the final approval of the 1/8”

White models, I was able to get to work on the final ¼” = 1’-0” scale models as well as the

drafting with renderings (See appendix B figures 2-6).

Over the summer break from the University I kept in contact with Ms. McKnight via

email and telephone. I could upload color choices, scenic details and paint treatments to a shared

dropbox folder allowing her the ability to collaborate with me even though we were 1000 miles

apart. We talked and agreed about colors in collaboration with Ms. Hall who had no hesitation

over the colors that I had chosen on a scene-by-scene basis.

Upon returning to the University, I completed my renderings and drafting prior to the

final deadlines imposed by the technical director, Weston Wilkerson and scenic charge artist,

Susan Crabtree. Emily Clarkson the lighting designer and I would set meeting times to discuss

trim heights for the individual scenic battens as well as overhead masking borders. These early

discussions allowed us an opportunity to discover potential problems that could arise from the

15

moving border and legs that were located just behind the proscenium line. One of the big issues

was to see if there were any combination of movements that would potentially block lighting

fixtures from reaching the apron of the stage. With careful planning, we could discover the

correct heights that would not negatively impact her lighting positions and would ultimately keep

the correct look that the director and I envisioned for each scene.

With careful planning, the design was complete. After multiple meetings and many

breakout sessions we found the perfect physical scenic environment that could easily

accommodate the story line our director wanted to tell. It also allowed me a great deal of input

and artistic freedom to create a world that was both unique as well as functional.

16

Section 4: Top to Bottom Production Process

The University produces many shows within a nine-month season. Due to the

overlapping nature of this busy schedule, the department creates a unique build schedule for its

productions. The Metal Children was the third overall show of the six-show season making its

position of production fall in the last month of the fall semester. At the University of Arkansas

as a Graduate Student Scenic Designer, I earn my assistantship by working in the scene shop

while designing the show. This is very helpful because I am there to answer any questions that

arise and I can watch the design come to life from my paper designs to reality. After turning in

the final drafting, Mr. Wilkerson quickly produced working drawings for the shop staff from

which the show was built. From the outside, the show did not appear to be a large show to build.

The expectation was that the show build would not take a great deal of time to complete. This

proved very beneficial because of the short build time that the show had from the begining.

The build process quickly began with the construction of the all the wall units and

pilasters for the first and second scene. (See appendix C figures 11-12) The beginning stages of

the build proved far more difficult than anticipated because the cast was using the stage for

rehearsals during the evenings. The scene shop staff did not have the ability to hang any of the

flying units unless it could safely be completed in one day allowing rehearsals to be held in the

evenings. To help supplement the absence of standing scenery in rehearsals, the Props Master

Susan Crabtree provided rehearsal furniture to help create the illusion of the space for each

scene. The lesson was quickly learned that movement of all the furniture was also very integral

to help the story progress forward. We soon discovered that the actors would be beneficial in

helping shift scenery within each transition.

17

As the scene shop approached the first technical rehearsal, the staff began feeling the

pressure of the approaching deadlines. The scenery was easy to construct; however, some of the

scenic pieces that were installed on top of other large pieces were starting to be neglected. About

two weeks prior to the first technical rehearsal I was approached by the Technical Director to

consider making cuts to scenic units. In the auditorium scene, each portrait of the

superintendents was to include a picture frame lighting fixture that needed to be custom built to

compliment the forced perspective built into each portrait. Because the first technical rehearsals

were quickly approaching, Mr. Wilkerson did not feel that there was adequate time within the

build schedule to construct, wire, and mount each lighting fixture. (see appendix D figure 3) I

was unwilling to cut the lighting fixtures as the scene needed them to balance out the

composition. To keep them in the design, a fellow scenic MFA candidate and I scheduled a

weekend work day in which we could build the lights to keep them in the design. The lights

were built by taking various sizes of PVC pipe and cutting through one side allowing an opening

to bend. After applying heat, we could bend the pipe to create the size that matched the frames.

By saving time with the solution, we could send the newly constructed lighting fixtures to the

electrics crew to have them wired and mounted on the portraits.

The first technical rehearsal was used to train the run crew members and practice scenic

shifts. This was a critical rehearsal as it allowed the crew and cast to familiarize themselves with

all the intricate movements of the scenery. It allowed me the opportunity to choreograph the

specific movements and timings of the transitions. The team’s goal was to make every transition

fluid and attempt to keep them under 45 seconds per transition. This goal was obtainable due to

the large number of cast members who could assist the crew. The beginning of the shift

rehearsal started off a bit disorganized; however, with a bit of instruction and patience, we were

18

quickly on our way to solving the problems a set with this many moving parts poses. Due to the

high learning curve involved in each scenic shift, we were unable to rehearse each shift as many

times as everyone desired. We ended the night with the crew feeling confident about every shift

and knowing that they would get better as we continued our technical and dress rehearsals.

The next technical rehearsal was what is called a 10 out of 12. This is a rehearsal that has

10 working hours out of a 12-hour day. We began the rehearsal at 10:00 am with a brief review

of what was accomplished the previous rehearsal. The goal of the 10 out of 12 was to work

through the entire show incorporating all lighting and sound cues. The actors were also present

and necessary as the lighting designer needs them on stage and in their positions to set all light

levels and positions. Another aspect of this rehearsal is to make sure all the scenery that is

intended to be in each scene is in its onstage position. However, there were still some scenic

units that needed to be added to complete the design. It was also at this rehearsal where I needed

to take notes on all remaining details and scenic adjustments to make sure we could complete the

set with the remaining time allotted. I spent most of that day taking completion notes while

working closely with the Technical Director to try and determine how we needed to approach the

work week leading to opening night. Since I was finally seeing the set under performance

conditions, I could determine that the choices I made regarding specific paint treatments were

working very well.

On the night of the second technical rehearsal, my mentor Michael Riha sat with me to

help fine tune the details of the set. Toward the beginning of the night, we could see that the

hidden scrim panel in the motel wall varied too differently from what the original plan was,

which was to match the scrim paint treatment to the opaque wall treatment. After having a

discussion with the director, she agreed that it did not look right and she was open to another

19

way to fix it. I quickly worked up a sketch on how to mask the seam between the opaque

sheeting of the wall and the translucent scrim material. (See appendix C figure 12) My solution

was to create a series of wall paneling partitions dividing the wall in an intentional design, which

helped the wall look seamless to the different paint treatment. The second issue presented itself

after hanging the portrait frames and the tapered molding. Once hung, we could see that the

designed forced perspective of the molding did not line up to the established vanishing point.

This error made the entire scene look disjointed. We fixed this problem by simply dropping one

pick point on the perspective molding to make it converge at the vanishing point.

Entering the first dress rehearsal, the props master and I had a discussion about how we

needed to provide better set dressing for the New York Apartment scene. It needed to look like a

dirty, unkempt apartment as if he was not able to take care of himself since his divorce. Prior to

the dress rehearsal starting, we rigged dirty clothes and various piles of trash onto different

scenic pieces to help create a trashy sense. When we return to the New York City apartment at

the end of the show, the crew needed to be able to replace the trashy props with ones that made

his apartment seem clean again, as if he has turned his life around. From the previous technical

rehearsal, the changes that were made to the scenery were appreciated by the director and she

noticed a difference in the presentation of each scene.

As the final dress rehearsal started I was focused on paying close attention to any notes or

problems that occurred or potential design issues that I may have missed in the previous

rehearsals. Fortunately, I made it through the final dress rehearsal without any major scenic

notes. The crew had done an incredible job finalizing all the previous notes making this design

complete.

20

Section 5: A Reflection

The Metal Children was a script that I had not yet encountered as a scenic designer. In

my previous design experiences, I had made designs for single sets. This show was quite like

how many multi scene musicals are structured; a show featuring multiple locations with many

scene shifts throughout the play. I knew that this show would challenge me and help me grow as

a designer. It was clearly outside of my comfort level making it the perfect choice for my 3rd

year design.

Working with Director Jenny McKnight was a breath of fresh air as well. I could feed off

her love of the script and I myself became inspired to create a world that supported her vision.

Ms. McKnight was one of the most understanding directors that I have had the pleasure of

working with. She was open to any and every idea that I gave to her and if it was something that

she did not prefer, she was willing to give it a chance to see if it would end up working for the

production.

Sadly, I was not able to make a strong connection with the script as a designer or a

person. I found the story to be very back and forth. While reading the script, there was always

something you were expecting from the text; some different kind of meaning from the

characters; however, the script and the story simply kept the reader wanting and finished without

satisfying the story. This however, did not affect my ability to connect with the characters and

the places that were presented in the story. With extensive research into regions and some places

mentioned in the story, I could connect the characters with their personality and regions in which

they lived.

The design team was one that had worked together on a previous design project.

Fortunately for us, we had already established a working vocabulary that allowed us the ability to

21

communicate effectively. This helped with the collaborative effort of the entire team as we

could talk to each other about any issues that came up and even help each other with solutions

that benefited one another.

I would call this design very successful as I was able to grow as a designer and reach

areas of my creativity that had not been reached before. The show was very well received by

many students and members of the community.

22

References:

Rapp, Adam. The Metal Children: a play. New York: Faber and Faber, 2010. Print.

Isherwood, Charles. "Warning: Reading Can Be Hazardous to Your Health." The New York Times. The New York Times, 19 May 2010. Web. 24 Feb. 2017.

Weber, Bruce. "Opposition to a Book Inspires More Art." The New York Times. The New

York Times, 17 May 2010. Web. 24 Feb. 2017. McKnight, Jenny, M.F.A. "First Design Meeting." Personal interview. 03 Mar. 2016.

Appendix A : Analysis, Research, and Preliminary Sketches

23

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24

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28

The Me

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am Ra

ppJ

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B. F

arley

Figure 5, Research Imagery

29

Figure 6, Apartment Sketch

Figure 7, Motel Sketch

30

Figure 8, Auditorium Sketch

Figure 9, ER Sketch

31

Figure 10, Town Square Sketch

Appendix B : Preliminary White Model, 1/4” Color Model

32

New Y

ork Ap

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CUTow

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are

Motel

in M

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1Ac

t 1 Sc

ene 2

Act 2

Scene

1

The M

etal C

hildre

nby

Adam

Rapp

Jose

ph B

. Farl

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Act 2

Scene

2Ac

t 2 Sc

ene 3

Figure 1, White Model Scene by Scene

33

Figure 2, Color Model Apartment

34

Figure 3, Color Model Motel

35

Figure 4, Color Model Auditorium

36

Figure 5, Color Model ER

37

Figure 6, Color Model Town Square

38

Appendix C : Final Drafting and Painters Elevations

39

2P

ag

e

of 18

Ne

w Y

or

k A

pt

.

Scale: 1/2" = 1'-0"

Drawn by: Joseph B. Farley

Date: 09/08/2016

The Metal Children

by Adam Rapp

Sc

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ic D

es

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by

:

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ph

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40Figure 1, Apartment Ground Plan

3P

ag

e

of 1

8

NY

Se

ct

ion

Scale: 1/2" = 1'-0"


Date: 09/08/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

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arl

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ail

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so

n

Co

stu

me

Desig

ner:

MJ H

all

So

un

d D

esig

ner:

T

yle

r M

icheel

Sta

ge

Man

ag

er:

M

ag

gie

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is

6'-0" 5Wall D

TO PL #PLASTERLINETRIM

1'-0" 1Irising Curtain Pivot

1'-9" 2Irising Curtain Legs

2'-6" 3Legs

4'-0"1ST ELECTRIC20'-0"

6'-6" 6

7'-0" 7Wall B & B.17'-6" 8Border

19'-5"

8'-0" 9Legs

8'-4" 102ND ELEC HELPER9'-0" 112ND ELECTRIC

21'-0"

11'-2" 12Wall A & A.1

12'-0" 13Street Lamps (2 Prac)

13'-0" 14Pict. Frames & Molding

14'-0" 15Border w/ Legs20'-0"

15'-6" 163RD ELECTRIC22'-0"

17'-0" 17

17'-10" 18Border19'-11"

18'-8" 19Legs

20'-2" 204TH ELECTRIC22'-0"

21'-4" 21

21'-10" 22

22'-4" 23Blk. Scrim

23'-2" 24Border18'-9"

24'-0" 25Legs

25'-2" 265TH ELECTRIC21'-0"

26'-8" 27

30'-0" 30Full Stage Black

31'-6" 31

5'-6" 4ER Lights (2 Prac)

41Figure 2, Apartment Section

42

Figure 3, Motel Ground Plan

4P

age

of 18

Mo

te

l

Scale: 1/2" = 1'-0"


Date: 09/08/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ec

tor:

Jenny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

esto

n W

ilkers

on

Lig

hti

ng

De

sig

ne

r: E

mily

Cla

rkson

Co

stu

me

De

sig

ne

r: M

J H

all

So

un

d D

es

ign

er:

T

yle

r M

icheel

Sta

ge

Man

ag

er:

M

aggie

Ha

rris

6'-0

"5

Wal

l D

TO P

L#

PLA

STE

RLIN

ETR

IM

1'-0

"1

Irisi

ng C

urta

in P

ivot

1'-9

"2

Irisi

ng C

urta

in L

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"3

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20

'-0"

6'-6

"6

7'-0

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der

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10

2N

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9'-0

"

11

2N

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LECT

RIC

11

'-2"

12

Wal

l A &

A.1

12

'-0"

13

Str

eet

Lam

ps (2

Pra

c)

13

'-0"

14

Pict

. Fra

mes

& M

oldi

ng

14

'-0"

15

Bor

der w

/ Leg

s

15

'-6"

16

3RD

ELE

CTRI

C

17

'-0"

17

17

'-10

"18

Bor

der

18

'-8"

19

Legs

20

'-2"

20

4TH

ELE

CTRI

C

21

'-4"

21

21

'-10

"22

22

'-4"

23

Blk

. Scr

im

23

'-2"

24

Bor

der

24

'-0"

25

Legs

25

'-2"

26

5TH

ELE

CTRI

C

26

'-8"

27

30

'-0"

30

Full S

tage

Bla

ck

31

'-6"

31

5'-6

"4

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ight

s (2

Pra

c)

Be

d

En

d

Ta

bl

e

Ta

bl

e

Ch

air

Ch

air

C

43

6'-0" 5Wall D




2'-6" 3Legs

4'-0"1ST ELECTRIC20'-0"

6'-6" 6

7'-0" 7Wall B & B.17'-6" 8Border

19'-5"

8'-0" 9Legs


21'-0"

11'-2" 12Wall A & A.1



14'-0" 15Border w/ Legs20'-0"

15'-6" 163RD ELECTRIC22'-0"

17'-0" 17

17'-10" 18Border19'-11"

18'-8" 19Legs

20'-2" 204TH ELECTRIC22'-0"

21'-4" 21

21'-10" 22

22'-4" 23Blk. Scrim

23'-2" 24Border18'-9"

24'-0" 25Legs

25'-2" 265TH ELECTRIC21'-0"

26'-8" 27


31'-6" 31


5P

ag

e

of 1

8

Mo

te

l S

ec

tio

n

Scale: 1/2" = 1'-0"


Date: 09/01/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ecto

r: J

en

ny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

esto

n W

ilkers

on

Lig

hti

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ner:

Em

ily C

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me

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ner:

MJ H

all

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ner:

T

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r M

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ee

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ge

Ma

na

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r: M

aggie

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Figure 4, Motel Section

44Figure 5, Auditorium Ground Plan

6P

age

of 18

Au

dit

or

ium

Scale: 1/2" = 1'-0"


Date: 09/08/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ec

tor:

Jenny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

esto

n W

ilkers

on

Lig

hti

ng

De

sig

ne

r: E

mily

Cla

rkson

Co

stu

me

De

sig

ne

r: M

J H

all

So

un

d D

es

ign

er:

T

yle

r M

icheel

Sta

ge

Man

ag

er:

M

aggie

Ha

rris

6'-0

"5

Wal

l D

TO P

L#

PLA

STE

RLIN

ETR

IM

1'-0

"1

Irisi

ng C

urta

in P

ivot

1'-9

"2

Irisi

ng C

urta

in L

egs

2'-6

"3

4'-0

"1

ST

ELEC

TRIC

20

'-0"

6'-6

"6

7'-0

"7

Wal

l B &

B.1

7'-6

"8

Bor

der

8'-0

"9

Legs

8'-4

"

10

2N

D E

LEC

HEL

PER

9'-0

"

11

2N

D E

LECT

RIC

11

'-2"

12

Wal

l A &

A.1

12

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13

Str

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Lam

ps (2

Pra

c)

13

'-0"

14

Pict

. Fra

mes

& M

oldi

ng

14

'-0"

15

Bor

der w

/ Leg

s

15

'-6"

16

3RD

ELE

CTRI

C

17

'-0"

17

17

'-10

"18

Bor

der

18

'-8"

19

Legs

20

'-2"

20

4TH

ELE

CTRI

C

21

'-4"

21

21

'-10

"22

22

'-4"

23

Blk

. Scr

im

23

'-2"

24

Bor

der

24

'-0"

25

Legs

25

'-2"

26

5TH

ELE

CTRI

C

26

'-8"

27

30

'-0"

30

Full S

tage

Bla

ck

31

'-6"

31

5'-6

"4

ER L

ight

s (2

Pra

c)

Po

diu

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ab

le

Ch

air

Ch

air

Ch

air

Ch

air

6'-0" 5Wall D




2'-6" 3Legs

4'-0"1ST ELECTRIC

6'-6" 6

7'-0" 7Wall B & B.17'-6" 8Border8'-0" 9Legs


11'-2" 12Wall A & A.1



14'-0" 15Border w/ Legs

15'-6" 163RD ELECTRIC

17'-0" 17

17'-10" 18Border

18'-8" 19Legs

20'-2" 204TH ELECTRIC

21'-4" 21

21'-10" 22

22'-4" 23Blk. Scrim

23'-2" 24Border

24'-0" 25Legs


26'-8" 27


31'-6" 31


7P

age

of 18

Au

d.

Se

ct

ion

Scale: 1/2" = 1'-0"


Date: 09/01/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ec

tor:

Jenny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

esto

n W

ilkers

on

Lig

hti

ng

De

sig

ne

r: E

mily

Cla

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stu

me

De

sig

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r: M

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all

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d D

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ign

er:

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yle

r M

icheel

Sta

ge

Man

ag

er:

M

aggie

Ha

rris

45Figure 6, Auditorium Section

46Figure 7, ER Ground Plan

8P

age

of 18

ER Scale: 1/2" = 1'-0"


Date: 09/08/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ec

tor:

Jenny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

esto

n W

ilkers

on

Lig

hti

ng

De

sig

ne

r: E

mily

Cla

rkson

Co

stu

me

De

sig

ne

r: M

J H

all

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un

d D

es

ign

er:

T

yle

r M

icheel

Sta

ge

Man

ag

er:

M

aggie

Ha

rris

6'-0

"5

Wal

l D

TO P

L#

PLA

STE

RLIN

ETR

IM

1'-0

"1

Irisi

ng C

urta

in P

ivot

1'-9

"2

Irisi

ng C

urta

in L

egs

2'-6

"3

4'-0

"1

ST

ELEC

TRIC

20

'-0"

6'-6

"6

7'-0

"7

Wal

l B &

B.1

7'-6

"8

Bor

der

8'-0

"9

Legs

8'-4

"10

2N

D E

LEC

HEL

PER

9'-0

"11

2N

D E

LECT

RIC

11

'-2"

12

Wal

l A &

A.1

12

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13

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ps (2

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14

Pict

. Fra

mes

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ng

14

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15

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/ Leg

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15

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16

3RD

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C

17

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17

17

'-10

"18

Bor

der

18

'-8"

19

Legs

20

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20

4TH

ELE

CTRI

C

21

'-4"

21

21

'-10

"22

22

'-4"

23

Blk

. Scr

im

23

'-2"

24

Bor

der

24

'-0"

25

Legs

25

'-2"

26

5TH

ELE

CTRI

C

26

'-8"

27

30

'-0"

30

Full S

tage

Bla

ck

31

'-6"

31

5'-6

"4

ER L

ight

s (2

Pra

c)

Be

d

Ch

air

Ch

air

Be

d

IV S

ta

nd

IV S

ta

nd

6'-0" 5Wall D




2'-6" 3Legs

4'-0"1ST ELECTRIC

6'-6" 6



11'-2" 12Wall A & A.1





17'-0" 17

17'-10" 18Border

18'-8" 19Legs


21'-4" 21

21'-10" 22

22'-4" 23Blk. Scrim

23'-2" 24Border

24'-0" 25Legs


26'-8" 27


31'-6" 31


9P

age

of 18

ER

Se

ct

ion

Scale: 1/2" = 1'-0"


Date: 09/01/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ec

tor:

Jenny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

esto

n W

ilkers

on

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hti

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De

sig

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icheel

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ag

er:

M

aggie

Ha

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47Figure 8, ER Section

48Figure 9, Town Square Ground Plan

10

Page

of 18

To

wn

Sq

ua

re

Scale: 1/2" = 1'-0"


Date: 09/08/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ec

tor:

Jenny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

esto

n W

ilkers

on

Lig

hti

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De

sig

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l D

TO P

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ng C

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in P

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"2

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ng C

urta

in L

egs

2'-6

"3

4'-0

"1

ST

ELEC

TRIC

20

'-0"

6'-6

"6

7'-0

"7

Wal

l B &

B.1

7'-6

"8

Bor

der

8'-0

"9

Legs

8'-4

"10

2N

D E

LEC

HEL

PER

9'-0

"11

2N

D E

LECT

RIC

11

'-2"

12

Wal

l A &

A.1

12

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13

Str

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ps (2

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c)

13

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14

Pict

. Fra

mes

& M

oldi

ng

14

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15

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der w

/ Leg

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15

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16

3RD

ELE

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C

17

'-0"

17

17

'-10

"18

Bor

der

18

'-8"

19

Legs

20

'-2"

20

4TH

ELE

CTRI

C

21

'-4"

21

21

'-10

"22

22

'-4"

23

Blk

. Scr

im

23

'-2"

24

Bor

der

24

'-0"

25

Legs

25

'-2"

26

5TH

ELE

CTRI

C

26

'-8"

27

30

'-0"

30

Full S

tage

Bla

ck

31

'-6"

31

5'-6

"4

ER L

ight

s (2

Pra

c)

To

wn

St

at

ue

6'-0" 5Wall D




2'-6" 3Legs

4'-0"1ST ELECTRIC

6'-6" 6



11'-2" 12Wall A & A.1





17'-0" 17

17'-10" 18Border

18'-8" 19Legs


21'-4" 21

21'-10" 22

22'-4" 23Blk. Scrim

23'-2" 24Border

24'-0" 25Legs


26'-8" 27


31'-6" 31


11

Page

of 18

Sq

ua

re

Se

ct

ion

Scale: 1/2" = 1'-0"


Date: 09/01/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ec

tor:

Jenny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

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n W

ilkers

on

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49Figure 10, Town Square Section

50Figure 11, Front Elevations

12

Page

of 18

Wa

ll

s A

-B

Scale: 1/2" = 1'-0"


Date: 09/08/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

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tor:

Jenny M

cK

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ht

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nic

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12

1/

2"

= 1

'-0

"

Wa

ll

B3

SC

AL

E:

El

ev

at

ion

1

2

1/

2"

= 1

'-0

"

Wa

ll

B3

.1

SC

AL

E:

Pl

an

Vie

w1

2

1/

2"

= 1

'-0

"

Wa

ll

B3

.2

SC

AL

E:

To

p V

iew

12

1/

2"

= 1

'-0

"

Wa

ll

B3

.3

SC

AL

E:

Se

ct

ion

Vie

w1

21

/2

" =

1'-

0"

Wa

ll

B3

.4

SC

AL

E:

Sid

e V

iew

12

1/

2"

= 1

'-0

"

Wa

ll

B.1

4

SC

AL

E:

El

ev

at

ion

1

2

1/

2"

= 1

'-0

"

Wa

ll

B.1

4.1

SC

AL

E:

Pl

an

Vie

w1

2

1/

2"

= 1

'-0

"

Wa

ll

B.1

4.2

SC

AL

E:

To

p V

iew

12

1/

2"

= 1

'-0

"

Wa

ll

B.1

4.3

SC

AL

E:

Se

ct

ion

Vie

w1

21

/2

" =

1'-

0"

Wa

ll

B.1

4.4

SC

AL

E:

Sid

e V

iew

12

6"

3"

3"

= 1

'-0

"

Cr

ow

n D

et

ail

3.5

SC

AL

E:

Se

ct

ion

Vie

w1

2

6"

34

"

3"

= 1

'-0

"

Ba

se

bo

ar

d D

et

ail

2.5

SC

AL

E:

Se

ct

ion

Vie

w1

2

13

Page

of 18

Wa

ll

C &

Pr

ac

.

Scale: 1/2" = 1'-0"


Date: 09/01/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ec

tor:

Jenny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

esto

n W

ilkers

on

Lig

hti

ng

De

sig

ne

r: E

mily

Cla

rkson

Co

stu

me

De

sig

ne

r: M

J H

all

So

un

d D

es

ign

er:

T

yle

r M

icheel

Sta

ge

Man

ag

er:

M

aggie

Ha

rris

12

'-0

"

7'-0

" 3'-0

"

3"

76

°

3'-8

14

"

12

'-0

"

12

'-4

38

"

7'-1

38

"

Bl

ac

k

Sc

rim

5'-3

34

"9'-0

"

6"

33

4"

1/

2"

= 1

'-0

"

Wa

ll

C1

SC

AL

E:

El

ev

at

ion

13

1/

2"

= 1

'-0

"

Wa

ll

C1

.1

SC

AL

E:

Pl

an

Vie

w1

3

1/

2"

= 1

'-0

"

Wa

ll

C1

.2

SC

AL

E:

To

p V

iew

13

1/

2"

= 1

'-0

"

Wa

ll

C1

.3

SC

AL

E:

Se

ct

ion

Vie

w1

31

/2

" =

1'-

0"

Wa

ll

C1

.4

SC

AL

E:

Sid

e V

iew

13

6"

6"

3"

= 1

'-0

"

Cr

ow

n D

et

ail

1.5

SC

AL

E:

Se

ct

ion

Vie

w1

3

3"

= 1

'-0

"

Ba

se

bo

ar

d D

et

ail

1.6

SC

AL

E:

Sid

e V

iew

13

3'-2

"

2'-9

"

3'-1

"

3'-1

"

2'-5

"

2'-5

"

2'-7

"

2'-3

"2

'-1

"

1'-

10

"

1'-

11

"

1'-

11

"

1'-6

"

1'-6

"

1'-6

"1

'-8

"

1'-5

"

1'-3

"

1'-2

"

1'-3

"

1'-1

"

1'-1

"

1'-0

"

1'-1

"

89

°9

1°

82

°

98

°

3"

= 1

-1/

2"

=1

'-0

"

Pic

tu

re

Fr

am

es

3

SC

AL

E:

El

ev

at

ion

13

•D

isc

us

s P

er

sp

ec

tiv

e M

ol

din

g w

ith

De

sig

ne

r

• P

ict

ur

e F

ra

me

Mo

ld

ing

Lo

we

s

:: I

te

m #

44

94

46

7'-0

"

3'-0

"

•P

la

in H

ol

lo

wc

or

e D

oo

r

•P

ee

p H

ol

e i

n b

ot

h D

oo

rs

•T

yp

ica

l D

oo

r H

ar

dw

ar

e w

ith

De

ad

bo

lt

Lo

ck

an

d C

ha

in L

oc

k

3'-0

"3'-6

"5'-0

"

5'-9

"

•O

ne

Do

or

ha

rd

wa

re

go

ld

th

e o

th

er

da

rk

br

on

ze

1"

= 1

'-0

"

Do

or

s A

& C

2

SC

AL

E:

El

ev

at

ion

13

•M

ini

Lig

ht

s M

ou

nt

ed

to

th

e t

op

of

Fr

am

es

•K

ee

p S

am

e b

oa

rd

th

ick

ne

ss

, J

us

t t

ap

er

th

e c

ut

s

51Figure 12, Front Elevations

52Figure 13, Iris Drop Front View, Apartment

14

Page

of 18

Cu

rt

ain

Po

s.

A

Scale: 1/2" = 1'-0"


Date: 09/01/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ec

tor:

Jenny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

esto

n W

ilkers

on

Lig

hti

ng

De

sig

ne

r: E

mily

Cla

rkson

Co

stu

me

De

sig

ne

r: M

J H

all

So

un

d D

es

ign

er:

T

yle

r M

icheel

Sta

ge

Man

ag

er:

M

aggie

Ha

rris

20

'-0

"

10

'-0

"

15

Page

of 18

Cu

rt

ain

Po

s.

B

Scale: 1/2" = 1'-0"


Date: 09/01/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ec

tor:

Jenny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

esto

n W

ilkers

on

Lig

hti

ng

De

sig

ne

r: E

mily

Cla

rkson

Co

stu

me

De

sig

ne

r: M

J H

all

So

un

d D

es

ign

er:

T

yle

r M

icheel

Sta

ge

Man

ag

er:

M

aggie

Ha

rris

8'-9

"

13

'-6

"

17

'-0

"

53Figure 14, Iris Drop Front View Motel

54Figure 15, Iris Drop Front View, Auditorium

16

Page

of 18

Cu

rt

ain

Po

s.

C

Scale: 1/2" = 1'-0"


Date: 09/01/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ec

tor:

Jenny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

esto

n W

ilkers

on

Lig

hti

ng

De

sig

ne

r: E

mily

Cla

rkson

Co

stu

me

De

sig

ne

r: M

J H

all

So

un

d D

es

ign

er:

T

yle

r M

icheel

Sta

ge

Man

ag

er:

M

aggie

Ha

rris

26

'-1

0"

17

'-0

"

9'-0

"

17

Page

of 18

Cu

rt

ain

Po

s.

D

Scale: 1/2" = 1'-0"


Date: 09/01/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ec

tor:

Jenny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

esto

n W

ilkers

on

Lig

hti

ng

De

sig

ne

r: E

mily

Cla

rkson

Co

stu

me

De

sig

ne

r: M

J H

all

So

un

d D

es

ign

er:

T

yle

r M

icheel

Sta

ge

Man

ag

er:

M

aggie

Ha

rris

8'-8

"

13

'-9

"

18

'-5

"

55Figure 16, Iris Drop Front View ER

56Figure 17, Iris Drop Front View, Town Square

18

Page

of 18

Cu

rt

ain

Po

s.

E

Scale: 1/2" = 1'-0"


Date: 09/01/2016

The Metal Children

by Adam Rapp

Sc

en

ic D

es

ign

by

:

Jose

ph

B. F

arl

ey

em

ail

:

ca

ll

/t

ex

t:

jbfa

rley

@u

ark

.ed

u

(870)

450-4

031

Dir

ec

tor:

Jenny M

cK

nig

ht

Tech

nic

al D

irecto

r: W

esto

n W

ilkers

on

Lig

hti

ng

De

sig

ne

r: E

mily

Cla

rkson

Co

stu

me

De

sig

ne

r: M

J H

all

So

un

d D

es

ign

er:

T

yle

r M

icheel

Sta

ge

Man

ag

er:

M

aggie

Ha

rris

29

'-1

0"

18

'-4

"1

8'-

4"

The

Met

al C

hild

ren

Jose

ph B

. Farl

eyS

cale

:: 1/2”

= 1’

-0”

Wal

l A &

A.1

57Figure 18, Wall A & A.1 Painters Elevation

58Figure 19, Wall B & B.1 Painters Elevation

The

Met

al C

hild

ren

Jose

ph B

. Farl

eyS

cale

:: 1/2”

= 1’

-0”

Wal

l B &

B.1

The

Met

al C

hild

ren

Jose

ph B

. Farl

eyS

cale

:: 1/2”

= 1’

-0”

Wal

l C

59Figure 20, Wall C Painters Elevation

60

Figure 21, Town Statue Painters Elevation

The

Met

al C

hild

ren

Jose

ph B

. Farl

eyS

cale

:: 1/2”

= 1’

-0”

61

Figure 22, Floor Painters Elevation

Appendix D : Production Photos

62

Figure 1: Production Photo Apartment

63

64

Figure 2: Production Photo Motel

65

Figure 3: Production Photo Auditorium

66

Figure 4: Production Photo ER

67

Figure 5: Production Photo Town Square

scenic design for 'the metal children

Documents